Unfolding without narration, Mother Dao, the Turtlelike is a spare and elegant film constructed entirely from archival footage... Luminous nitrate images are set against a simple soundtrack of birdcalls, bells and murmuring voices, punctuated occasionally by native poems and songs. The film's careful construction reveals the face of systematic colonization and the effect of economic expansion on a culture. There are stunning moments: a child leaves off breast-feeding to drag on a cigarette; crocodiles are lassoed in a round-up; a strange white snow floats in the air as workers beat their way through enormous mountains of fluff. Much of the footage, shot by white Dutchmen and meant as propaganda for their colonial causes, now seems both comical and ominous - especially the recurring image of the white-clad colonialist intent on improving native culture and forcing industry forward. The natives' songs and poems, on the other hand, are full of regretful laments against hunger and the drive for profit. A quiet yet pointed journey through the past, Mother Dao is both an informative time capsule and a moving tribute to a lost world. (Rachel Rosen, San Francisco Film Festival)
UntitledA video based on an advertisement for GuardianSpain, the Spanish branch of Israeli company Guardian Homeland Security, which specializes in training security professionals to act – not against an external enemy but against the threat of citizens in their own countries. Israel thus shares its extensive proven experience in citizen control, particularly in urban contexts. Its Spanish clients include: Mossos d’Esquadra, Guardia Civil, Ertzaintza, the Interior Ministry, etc. The courses cost between 3.500 and 4.000€, and are paid for by our taxes.
Deliberations on death while a corpse is carefully cleaned and shrouded. 3 Mostra de Vídeo Independent de Barcelona 1996.
UntitledThis film follows the events triggered by a young man's killing of a leopard with a self-made trap in Kara, Southern Ethiopia. Anthropologist Felix Girke and film-maker Steffen Köhn follow the protagonists as a social drama slowly emerges: during the feast which celebrates the hunter's achievement, a challenge as to the ownership of the precious hide is issued. The events of the film reveal how ritual rules are strategically manipulated and contested for not entirely evident reasons.
UntitledThe short documentary, MORNING: September 11th, begins on a normal day on September 11th in Staten Island. Commuters went to work via the Staten Island ferry, reading the paper, and drinking their morning coffee. Suddenly, life changed forever, as residents of Staten Island watched in horror, looking across the bay to Manhattan after two planes hit the World Trade Center towers. “MORNING: September 11th” documents the shocked and quiet reactions of Staten Island Residents, as they listened to “1010 Wins” newscasters in disbelief report the collapse of the twin towers, as Manhattan billowed smoke across the bay.
Untitled2 Mostra de Vídeo Independent de Barcelona 1994.
UntitledMonument Valley uses archival images from various sources, images related to the famous south-western USA landscape and tourist attraction, tourists and fragments from classic Western films. This video blurs the boundaries between past and present.
From an agroecological and alternative perspective to capitalist globalization, "monte culebra" approaches the productive and organizational processes of peasant collective experiences in western Venezuela. A critical look at the agricultural development model that the Bolivarian government's agrarian policy promotes in rural cooperatives as a strategy to achieve food sovereignty. In addition, the evaluation of self-managed peasant experiences that practice agroecology -for more than 30 years- and participate in a network of food production and distribution through urban consumer fairs. "Monte Culebra" traces the history of Venezuelan rural displacement (common denominator in the world's peasant populations) and its resistance. In a context of corporate media dictatorship, community television emerged as a tool for the counter-hegemonic struggle, accompanying the experiences of rural life. Agroecological practices, inspired by ancestral methods and peasant rationality, insurge the agribusiness-educational paradigm and challenge the creativity of a government that tests new forms of territorial political action.